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Product Description
Product Description
For ceramicists of any level, surface design is an essential skill for creating beautiful work. And this comprehensive and invaluable studio reference captures all the popular techniques available for embellishing clay. A wealth of practical information and detailed images lead you through every phase of the process - from the wet and leather-hard stages (faceting, carving, burnishing) through bisque ware (terra sigillata and slip work), to firing (glazing methods) and post-firing (decals, lusters, and raku). Because the procedures shown all require the same basic skill level, readers can dip in at any point. Time-tested recipes are offered in abundance, photographs of fired demonstration pieces show the final effect and top-quality contemporary gallery pictures display the fabulous results. Sidebars throughout offer options for further exploration.
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Customer Reviews
Most Helpful Customer Reviews
17 of 18 people found the following review helpful
Format:Hardcover|Amazon Verified Purchase
This book is well written and of good quality, which is what the two stars are for. In fact two stars may seem a bit mean, because the book does cover in some detail, many of the usual surface decoration techniques for ceramics.
However, I like the books I buy to give me some kind of inspiration, in addition to technical knowhow. I like to admire the illustrations and think, wow, that looks wonderful, maybe I could try something similar.
As I looked through the book, I became increasingly irritated to find that probably 90% of the illustrations are of work which was 'Wood fired to cone 12,(or even cone 13), 'Gas reduction fired to cone 10', 'gas/salt/soda fired to cone 10/12'. There is little that would be accessible or achievable for the middle of the road ceramic artist who is very likely to be using an electric kiln, and virtually nothing for those who low-fire from choice or necessity.
By all means include wood fired, gas reduction and high fired work, but surely an across the board balance would be better. It is very frustrating to see so many illustrations showing results which for most of us cannot be achieved. In addition, I doubt very much if those ceramic artists who are experienced in wood, gas reduction, salt or soda firing, would have much use for a book on basic surface decoration techniques.
There is a small section on raku - where the author was obliged to stoop to showing low fired work, and a further small section on naked raku/smoke firing, but other books such as 'Raku' by Tim Andrews, and 'Smoke Firing' by Jane Perryman, (both second editions) are streets ahead in every sense, and are highly recommended.
There is a good deal of information in this book on the usual range of surface pattern techniques, but in my opinion, still the best by far in terms of content, variety, accessibility and inspiriation, is ' The Potter's Guide to Ceramic Surfaces' by Jo Connell.
However, I like the books I buy to give me some kind of inspiration, in addition to technical knowhow. I like to admire the illustrations and think, wow, that looks wonderful, maybe I could try something similar.
As I looked through the book, I became increasingly irritated to find that probably 90% of the illustrations are of work which was 'Wood fired to cone 12,(or even cone 13), 'Gas reduction fired to cone 10', 'gas/salt/soda fired to cone 10/12'. There is little that would be accessible or achievable for the middle of the road ceramic artist who is very likely to be using an electric kiln, and virtually nothing for those who low-fire from choice or necessity.
By all means include wood fired, gas reduction and high fired work, but surely an across the board balance would be better. It is very frustrating to see so many illustrations showing results which for most of us cannot be achieved. In addition, I doubt very much if those ceramic artists who are experienced in wood, gas reduction, salt or soda firing, would have much use for a book on basic surface decoration techniques.
There is a small section on raku - where the author was obliged to stoop to showing low fired work, and a further small section on naked raku/smoke firing, but other books such as 'Raku' by Tim Andrews, and 'Smoke Firing' by Jane Perryman, (both second editions) are streets ahead in every sense, and are highly recommended.
There is a good deal of information in this book on the usual range of surface pattern techniques, but in my opinion, still the best by far in terms of content, variety, accessibility and inspiriation, is ' The Potter's Guide to Ceramic Surfaces' by Jo Connell.
Format:Hardcover
I have recently borrowed this book from my university library and loved it so much I have just ordered it. It is full of great ideas to create really individual pieces of ceramic ware. As a student I am lucky to have access to gas and electric kilns. I understand this book to be about techniques rather than a gospel on particular temperature firing. I thought that most clays can be fired at all temperatures. I guess it depends on the look you want.
This book has given me loads of ideas, through the clear instructions and photos, to further my understanding of clay and slipware. I can't wait to try the marbling and inlaying with different clays and slips. Great book, highly recommended.
This book has given me loads of ideas, through the clear instructions and photos, to further my understanding of clay and slipware. I can't wait to try the marbling and inlaying with different clays and slips. Great book, highly recommended.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
15 reviews
30 of 32 people found the following review helpful
Great, useful book!
9 Sep 2008
Format:Hardcover
If you're looking for techniques to try as you work in clay, the recently published Surface Design for Ceramics may be just your cup of tea.
No how-to book showing how to execute someone else's ideas, New Hampshire Institute of Art Ceramics chair Maureen Millls' book exxposes the reader, with helpful detail, to a wide range of decorative processes. Close-up photographs show her hands at work demonstrating at every stage of making, from freshly-thrown clay, through biscuit to post-firing. Her finished pieces are fine illustrations of process. The layout of pages is balance and attractive. While the tools employed are simple, possibilities for their use are many, as are the examples of pots and details of pots showing how the effects are achieved. I found myself drawn in, wanting to know which tools and techniques were used, and in what sequence. There is plenty of explanation.
Mills' own pieces are augmented by photos of other artists' work, both contemporary and from historic periods. Inclusion of pieces by potters in New England, both well and lesser-known, is refreshing, as it reveals her interest in and personal connection to other people's work and style. It's a delight to see so many New Hampshire potters represented!
After the (too short!) chapter on design, dividing the book into clay stages is useful, as it avoids the confusion of figuring out at what stage which technique is appropriate. You can jump right in, and imagination is stimulated, not to copy, but to move through and past, to one's own expression. Options for firing and post-firing finishing are thought-provoking, as one sees the results and can identify the methods of firing. Truly, we are being taught to make our own choices, and the possibilities are endless.
Maureen Mills' considerable experience as a teacher informs the book. She and her husband, Steve Zoldak, are remarkable as educators. Helpful hints abound, clear and concise, never with the pedantic verbosity that has often made me turn the page to escape an author's self-centered intrusion on process.
There is something in this book for most potters, and discreet but crucial suggestions are what intrigue me the most, such as: "It's best to take time to visualize the finished piece before you get started."
No how-to book showing how to execute someone else's ideas, New Hampshire Institute of Art Ceramics chair Maureen Millls' book exxposes the reader, with helpful detail, to a wide range of decorative processes. Close-up photographs show her hands at work demonstrating at every stage of making, from freshly-thrown clay, through biscuit to post-firing. Her finished pieces are fine illustrations of process. The layout of pages is balance and attractive. While the tools employed are simple, possibilities for their use are many, as are the examples of pots and details of pots showing how the effects are achieved. I found myself drawn in, wanting to know which tools and techniques were used, and in what sequence. There is plenty of explanation.
Mills' own pieces are augmented by photos of other artists' work, both contemporary and from historic periods. Inclusion of pieces by potters in New England, both well and lesser-known, is refreshing, as it reveals her interest in and personal connection to other people's work and style. It's a delight to see so many New Hampshire potters represented!
After the (too short!) chapter on design, dividing the book into clay stages is useful, as it avoids the confusion of figuring out at what stage which technique is appropriate. You can jump right in, and imagination is stimulated, not to copy, but to move through and past, to one's own expression. Options for firing and post-firing finishing are thought-provoking, as one sees the results and can identify the methods of firing. Truly, we are being taught to make our own choices, and the possibilities are endless.
Maureen Mills' considerable experience as a teacher informs the book. She and her husband, Steve Zoldak, are remarkable as educators. Helpful hints abound, clear and concise, never with the pedantic verbosity that has often made me turn the page to escape an author's self-centered intrusion on process.
There is something in this book for most potters, and discreet but crucial suggestions are what intrigue me the most, such as: "It's best to take time to visualize the finished piece before you get started."
44 of 49 people found the following review helpful
Disappointing
9 July 2008
Format:Hardcover|Amazon Verified Purchase
I'm a potter. I love Lark books and refer to them often for ideas and techniques. I was looking forward to this book and pre-ordered it several months ago. It arrived today and I have to say I was very disappointed with it. It's not a bad book but I found it uninspiring. There's really nothing new in it and I've seen all of the information presented in other books in a much more dynamic way. I was hoping for more.
11 of 12 people found the following review helpful
Inspiring
4 Dec 2008
Format:Hardcover
I found this book full of great ideas and techniques. I have been a "potter" for 12 years, and sometimes find myself in creative ruts. This book came to me at a time I really needed to explore some new ideas. There is nothing "new" in pottery. But there are new ways to present techniques and I think Maureen did this very well. She works in slip-trailing like no one else I've seen. I was really excited by her latex resist techniques as well. Since receiving this book as a gift, I have tried several of the decorating techniques. I've been energized to try new things, and share them with my students as well.
This book is a great addition to most potter's libraries, something I look forward to browsing for many years to come.
This book is a great addition to most potter's libraries, something I look forward to browsing for many years to come.
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